A Review and Discussion: Scholarly Arguments for Elements of the Gothic in Frankenstein

Author’s Introduction:

This essay assignment asked us to discuss our ideas on Frankenstein in relation to the ideas of scholars. After taking American Literary Traditions and learning about the Gothic, I decided to ponder my ideas about the Gothic in Frankenstein. I gathered the opinions of three scholars, who argue about the Gothic in the novel. Later, I compared their ideas with my own. In doing so, I found that I agreed with most of their ideas, but refuted with some. I explained why I thought these ideas were incorrect. The essay is below:

Ben Outland

LTC Ticen

ERH-421W

11/14/18

A Review and Discussion: Scholarly Arguments for Elements of the Gothic in Frankenstein

In the late 18th century, Horace Walpole’s The Castle Otranto took the world of literature by storm in what is now considered the first Gothic novel. The novels use of terror and an isolationist setting gripped contemporary audiences, and the Gothic tradition grew and expanded in popularity through the next centuries, embracing themes and motifs such as suspense, omens, horror, gloom, overwrought emotions, the supernatural, and more (Harris). What better novel to analyze these themes than Mary Shelley’s Frankenstein, a novel which brought science fiction into the tradition and revitalized the Gothic. In fact, the novel has been widely studied not just by students learning about themes, ethics, character development, and plot elements, but also by scholars of the Gothic. Rebecca Baumann’s Frankenstein 200: The Birth, Life, and Resurrection of Mary Shelley’s Monster, Jonathan Crimmins “Mediation’s Sleight of Hand: The Two Vectors of the Gothic in Mary Shelley’s “Frankenstein,” and Ellen Moer’s chapter titled “Female Gothic” in the book The Endurance of Frankenstein: Essays on Mary Shelley’s Novel all study Frankenstein in terms of Gothic principles such eroticism, feminist perspectives, psychological, ideological and more. This essay will summarize and respond to these scholarly perspectives, gauging the validity of these Gothic elements in the novel, while suggesting other Gothic elements which could be discussed in future works. First, the concepts and Gothic elements outlined in each essay will be explained, then I will discuss validity of the arguments of these scholars in relation to my own opinions about the Gothic in Frankenstein.

In Rebecca Baumann’s chapter “The Gothic,” she argues that Frankenstein contains elements of the Gothic in the form of insectous relationships, psycological tourture, and disturbing sexual dreams. She explains that insect and erotica are major Gothic appeals. These elements can be seen in Victor’s relationship with his cousin Elizabeth, and in a strange “psycho-sexual” dream Victor has about his cousin. In the dream, Victor embraces and kisses Elizabeth, but upon doing so, she turns the color of death, turns into Victor’s mother, and worms crawl over her. Baumann explains the psychological torture aspect as being represented in the tormenting of both the creature and Victor’s psyches throughout the novel.

In Jonathan Crimmins article “Mediation’s Sleight of Hand: The Two Vectors of the Gothic in Mary Shelley’s ‘Frankenstein,’” from the book Studies in Romanticism, he argues that the Gothic can be understood through 2 vectors: the social/psychological, and the ideological. Understanding Frankenstein through these two vectors can help us to see the novel as not morally ambivalent, i.e ““Should Walton give up his dreams?” “Should nature be left alone?” “Is ambition the source of evil?” The novel firmly answers yes and no” but as “the result of a dualism inherent in the theories of the gothic,” (Crimmins 562, 569). The psychological/social vector of the Gothic in the novel is represented by romanticism, while the ideological vector is represented by sentimentalism. For example, the creature begins with characteristics of the romantic. He is emotional, loving of the De laceys, and holding a respect and awe for the power of nature. However, as he learns about human nature, the psychological vector of the Gothic makes him miserable. His loneliness and ugliness cause him to feel emotions which he describes as worse than physical pain, and he often yearns for the simplicity of the challenges he felt before understanding emotions. He also reads about the human condition in books such as The Sorrows of Young Werther, and sees how the De Lacey family’s pains are not physical — thus revealing to him the horrors of consciousness, knowledge and psychological torture. His unhappiness grows worse when he learns of the social — a desire for love drives him into anger and emotional misery. For Crimmins, this psychological and social pain caused by knowledge and understanding is an important manifestation of the Gothic in the novel. The ideological vector, Crimmins argues, is found in Victor’s sentimentalism. He refuses to create the second creature, believing it is for the greater good of mankind. This act leads to the murder of Elizabeth, and Frankenstein’s misery. Crimmins also argues that perhaps Frankenstein was motivated to create the first creature in order to find a way to transcend death on account of the pain he felt after the loss of his mother. This act also leads to physical sickness and harm to Frankenstein. Frankenstein’s attempt at doing what he believes is right through ideological stances and sentimentalism only cause him more pain than the good he intended. In this way, the ideological is an important source of the Gothic in the novel.

Ellen Moer’s chapter “Female Gothic” from The Endurance of Frankenstein: Essays on Mary Shelley’s Novel describes the Gothic elements in Frankenstein via the female perspective crafted by Mary Shelley. Moer’s argues that Frankenstein is a birth myth, and that one Gothic element of the story is the horror and terror Victor feels upon seeing his creation and the “terror of the afterbirth” (Moers 81). She explains that “fear and guilt, depression and anxiety are commonplace reactions to the birth of a baby” (Moers 81). These elements of fear, rather than happiness, caused by a guilty reaction of disgust upon seeing a newborn are a feminine perspective on the Gothic whose impact can only be fully understood by a female.

The Gothic is literary elements of setting and other devices which evoke fear in the reader. As Moer puts it: “In gothic writings fantasy predominates over reality, the strange over the commonplace. . .with one definite auctorial intent: to scare (Moer 77.) She explains this ability to scare as one which does not affect the soul, but rather the physical body: “[It] gets to the body itself, its glands, its muscles, epidermis, and circulatory system, quickly arousing and quickly allaying the physiological reactions to fear (77). The authors above have described elements of the Gothic which they believe illicit this physiological reaction in readers, and I believe that their arguments are sound.

Baumann’s argument that insect and sexual erotica are elements of the Gothic in the novel hold true, as I believe these elements play on human beings fear of the taboo and the uncanny. Insect is representative of the taboo, an act which is prohibited by social custom. The taboo elicits our psychological response to things which we inherently deem as different, as a primal protective device. The uncanny is represented by sexual erotica, as we see in Victor’s dream about kissing Elizabeth’s dead body, who is crawling with worms.

I agree Crimmins’ arguments with one exception. The psychological/social vector of the gothic is sound, as we have seen in people being so tortured by their own thoughts as to commit suicide. Social anxiety is also prevalent, and we have seen people tortured by a lack of attention, as exemplified by groups such as “involuntary celibates.” This group has joined together online to express their misery in their lack of sexual encounters and attention. I disagree with Crimmins’ argument on idealoational stances resulting in misfortune as being a representation of the Gothic in Frankenstein. His argument does not deal in the Gothic, but rather in the idea of tragedy. The hero tries to do the right thing, but is punished regardless. These ideological misfortunes in the novel do not elicit a reaction of physiological fear, but rather our psychological concept of tragedy.

Moer’s argument is truthful and compelling, as afterbirth constitutes a reaction of horror, and emotions of anxiety and fear can be present after a birth. Newborn babies are not as cute as we may think, and can actually appear “disgusting” upon immediate birth. This can result in emotions of anxiety and guilt, which affect us psychologically, and can cause physical fear.

The discussion of elements of the Gothic tradition in Frankenstein is alive and well today. These scholars have made claims about these elements, which I believe are compelling and truthful, save for one. Frankenstein is rich and detailed, and I believe other elements of the Gothic such as the sublime aspect of nature, macabre, depression, and the pain of loss of loved ones could be discussed in future writings.

 

Works  Cited

Baumann, Rebecca, and Jody Mitchell. “The Gothic.” Frankenstein 200: The Birth, Life, and Resurrection of Mary Shelley’s Monster, Indiana University Press, Bloomington; Indiana, 2018. PP. 65-75. JSTOR.

Crimmins, Jonathan. “Meditations Sleight of Hand: The Two Vectors of the Gothic in Mary Shelley’s ‘Frankenstein.’” Studies in Romanticism, vol. 52, no. 4, 2013. PP. 561-583. Boston University, JSTOR.

Harris, Robert. “Elements of The Gothic Novel.” Elements of the Gothic Novel, 18 Aug. 2018, www.virtualsalt.com/gothic.htm.

Moer, Ellen. “The Female Gothic.” The Endurance of Frankenstein: Essays on Mary Shelley’s Novel. Levin, George. University of California Press, 1982. Print.